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Blackboard  Dra'wmg 


A  MONOGRAPH 


BY 


FREDERICK  WHITNEY 

OF  THE 

STATE  NORMAL  SCHOOL 
SALEM,   MASSACHUSETTS 


Digitized  by  tine  ihfernet  Arciiive 

in  2007  witin  funding  from 
—.     IVIicrosoft  Corporation 


littp://www.arcliive.org/details/blackboarddrawinOOwliitricli 


Blackboard  Drarwmg 


A  MONOGRAPH 


BY 


FREDERICK  \VHITNEY 

OF  THE 

STATE  NORMAL  SCHOOL 
SALEM,   MASSACHUSETTS 


SIXTH    EDITION 


PUBLISHED  BY 

Atkinson,  Mentzer  Qf  Company 

BiMton  New  York  Chicago  Atlanta  Dallas 


Copyright.  1902- 1903.  by  The  Davis  Press 

All  Rights  Reserved 


rore\vora 

THIS  MONOGRAPH  is  a  reprint  of 
a  series  oi  articles  rirst  puMisked  m  tke 
second  volume  or  tne  magazine  now 
kno-wn  as  The  School  Arts  Book.  Tke  arti- 
cles attracted  wide  attention  Dotn  on  account 
of  their  timeliness  and  tneir  illustrations.  Tne 
plates  \vere  made  rrom  pnotograpns  or  actual 
■work  upon  tte  blackboard  by  Mr.  Wbitney, 
and  are  undoubtedly  tbe  most  attractive  black- 
board drawings  ever  published.  Tbe  demand 
for  tbese  articles  bas  been  so  great  tbat  tbe 
original  editions  bave  been  exhausted.  Tbey 
are  republished  in  tbis  form  in  tbe  bope  tbat 
tbey  may  influence  yet  more  strongly  tbe  in- 
creasing number  of  teachers  who  find  the 
blackboard  indispensable  m  teaching. 

HENRY  TURNER  BAILEY 

September.  1903 


304721 


BLACKBOARD  DRAWING 


ONE  of  the  teachers  who  read  "The  School  Arts 
Book"  from  month  to  month  doubt  in  the  least 
the  value  of  drawing  in  our  schools,  and  there  is 
no  need  of  the  slightest  argument  in  its  favor. 
Even  in  the  lowest  grades  the  teacher  appreciates 
drawing  as  the  natural  expression  of  the  thought 
and  experience  of  the  child ;  a  spontaneous  activ- 
ity, having  its  relation  to  life,  not  a  thing  apart 
from  life  or  an  end  in  itself.  Throughout  the 
grades  the  teacher  should  cultivate  this  spirit  of 
freedom  and  interest,  remembering  that  drawing 
is  a  language  to  be  used  as  naturally  and  freely  as  one  written 
or  spoken. 

Why  should  these  suggestions  not  apply  to  the  teacher  as 
well  as  to  the  child?  Why  should  she  not  express  herself,  the 
interests  of  school  life  and  of  the  pupil  in  the  same  free,  natural 
way  ? 

Upon  entering  a  schoolroom  the  teacher  finds  the  black- 
boards bare  and  dull.  There  is  little  in  the  line  of  decoration 
in  the  room  and  in  order  to  relieve  this  monotony  she  stencils  a 
border,  the  picture  of  some  great  hero  or  well-known  author, 
draws  with  colored  chalk  the  inevitable  flags  crossed  at  right 
angles  or  puts  upon  the  board  some  design  which  possibly  may  or 
perhaps  may  not  have  relation  to  the  needs  of  the  children,  their 
life  and  activities,  or  the  industries  of  the  school. 

When  the  drawing  on  the  part  of  the  child  becomes  the 
natural  and   free  expression  of  the  activities  and   interests  of 


every-day  life,  and  the  teacher  uses  this  graphic  language  in 
the  same  manner,  the  blackboards  will  be  found  constantly  in 
use  and  upon  them  an  ever  changing  series  of  drawings.  These 
drawings  should  be  illustrations  of  the  geography,  history,  litera- 
ture, nature  work  or  any  other  line  demanding  their  aid.  Let 
them  be  drawings  upon  which  a  few  moments  of  time  are  spent, 
a  free  sketch  illustrating  the  object  or  topic  as  a  means  of  mak- 
ing the  subject  clearer  in  the  minds  of  the  pupils,  not  a  picture 
produced  by  the  labored  use  of  chalk  and  eraser,  to  be  kept  upon 
the  board  indefinitely  as  a  bit  of  decoration. 


Let  me  suggest  the  practice  of  the  following  strokes  and 
later  we  will  try  their  application  in  various  drawings  recom- 
mended by  teachers  from  several  schools.  In  these  illustrations 
use  about  two-thirds  of  a  stick  of  soft  blackboard  crayon,  using 
the  large  end  and  drawing  with  the  side  of  the  chalk.  This  use 
of  the  crayon  will  produce  any  tone  from  white  to  neutral 
gray. 

No.  1.  Place  the  chalk  in  a  horizontal  position  and  try  a 
smooth  even  stroke  one  or  two  feet  in  length. 


No.  2.  A  similar  stroke  in  a  graded  scale  letting  the  pres- 
sure become  less  and  less  toward  the  lower  end  of  the  stroke. 

No.  3.  Reverse  No.  2  hardly  touching  the  board  at  first 
and  increasing  the  pressure  toward  the  lower  end. 

If  charcoal  is  used  for  the  lower  tones,  a  very  satisfactory 
scale  may  be  produced  as  in  the  last  illustration  on  Plate  1. 

No.  4.  Combine  No.  2  and  No.  3  in  a  single  stroke.  Try 
all  these  strokes  again  and  again  in  a  vertical,  horizontal,  ob- 
lique, and  curving  direction  until  each  can  be  made  in  a  second 
or  two. 


8 


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No.  5.  Place  the  chalk  in  a  vertical  position  upon  the 
board,  draw  downward,  gradually  twisting  the  chalk  to  a  hori- 
zontal position. 

No.  6.  Place  the  chalk  horizontally  and  draw  downward, 
twisting  the  chalk  to  a  vertical  position. 

No.  7.  These  spots  are  No.  5  and  No.  6  combined.  Try 
them  with  a  short,  quick  motion  of  the  chalk. 

No.  8.  Combine  two  spots  similar  to  the  first  at  No.  7. 
The  leaf  in  outline  requires  several  lines  while  the  drawing 
representing  the  surface  was  made  with  two  strokes  and  one 


line  for  the  midrib  and  stem.  Try  several  leaves  of  different 
shapes  using  the  stroke  suggested  on  this  plate.  The  pond  lily 
is  drawn  w^ith  this  same  stroke  reduced. 

No.  9.  Make  a  scale  from  left  to  right  by  pressure  upon 
one  end  of  the  chalk,  while  giving  a  vertical  stroke.  Try  this 
in  various  directions.  Use  two  parallel  strokes  and  with  a  bit 
of  charcoal  for  accent  try  the  trunk  of  the  birch  tree. 

No.  10.  Use  No.  4,  Plate  1,  in  a  series  of  lights  and 
darks.  This  is  made  by  quick  pressure  at  short  intervals  with- 
out removing  the  chalk  from  the  board.  I  have  seen  this  used 
by  science  teachers  to  illustrate  vibrations  or  wave  lengths;  we 
shall  use  it  later  for  pictorial  purposes. 

No.  11.  Place  the  chalk  upon  the  board  in  a  horizontal 
position,  move  rapidly  back  and  forth,  gradually  shortening  the 
stroke,  and  repeat  this  exercise  in  various  positions  and  direc- 
tions. 

No.  12.  This  drawing  was  made  by  the  use  of  No.  11. 
Draw  first  a  few  lines  suggesting  the  growth  of  the  fern,  then 
add  the  strokes  letting  the  fern  dictate  the  direction,  accenting 
the  lighter  values  by  a  stronger  pressure. 

Draw  the  upper  leaf  on  Plate  4  by  the  use  of  stroke  No.  6, 
hardly  touching  the  board  for  the  gray  tones,  then  adding  the 
white  tones  with  a  stronger  pressure  upon  the  chalk. 

Are  we  sure  that  we  have  not  tried  to  make  drawing  an 
end  rather  than  a  means?  Let  us  remember  that  there  must  be 
a  motive  prompting  the  work,  an  interest  or  experience  back  of 
the  drawing  which  demands  expression.  In  the  color  work,  de- 
sign, and  manual  work,  the  influence  of  this  thought  has  already 

10 


been  felt.  The  object  needed  in  the  schoolroom  or  for  the  indi- 
vidual use  of  the  pupil  is  the  object  designed  and  made.  With 
this  new  motive,  there  comes  a  growing  appreciation  and  in- 
terest on  the  part  of  the  child. 

The  blackboard  drawing  should  be  governed  by  the  same 
spirit,  the  need  of  the  hour,  just  as  surely  as  the  child's  work  at 
his  desk,  and  when  the  teacher  realizes  this  fact,  he  will  never 
lack  a  subject  for  illustration.  For  instance,  in  the  fall  the  class 
may  be  studying  trees,  and  drawing  will  be  found  indispensable. 

The  children  are  studying  some  tree  near  at  hand,  compar- 
ing trees  to  discover  their  points  of  likeness  and  difference,  col- 
lecting pictures  of  trees  and  mounting  these  to  illustrate  their 
description,  and  with  this  study  they  are  becoming  more  or  less 
familiar  with  our  common  trees.  If  the  teacher  should  go  to 
the  blackboard  to  enforce  a  point  in  regard  to  the  general  form 
of  the  tree,  direction  of  branches  or  characteristic  details,  he 
will  find  such  sketches  a  great  help.  It  is  the  teacher  who  does 
such  illustrative  drawing  who  holds  and  interests  his  class. 

Let  us  try  a  few  simple  applications  of  the  practice  prev- 
iously suggested,  using  the  trees  as  our  topic  for  illustration. 

No.  13.  Draw  a  gray,  vertical  line  suggesting  the  char- 
acteristic line  of  growth  in  the  pine  tree.  Use  the  stroke  given 
in  No.  11  for  the  foliage.  To  represent  the  foliage  in  a  mass, 
simply  shorten  or  lengthen  the  stroke  of  the  chalk,  using  a 
greater  pressure  here  and  there.  With  the  side  of  the  chalk 
represent  the  trunk  of  the  tree  where  visible  and  with  the  point 
indicate  branches. 

11 


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Certain  laws  govern  blackboard  work  as  well  as  object 
drawing  on  paper.  A  sketch  of  the  object  as  a  whole  must  be 
made  first  and  the  massing  of  the  lights  and  shades  must  be  done 
before  detail  is  attempted.  The  general  outline  may  often  be 
sketched  with  charcoal  and  corrected  when  the  chalk  is  used. 


12 


No.  14.  Try  the  poplar  tree.  Again  the  vertical  line  is 
characteristic.  Indicate  this.  Mass  the  foliage  as  before,  using 
a  vertical  rather  than  a  horizontal  stroke.  Do  not  remove  the 
chalk  from  the  board  until  the  mass  of  foliage  is  represented 
and  remember  to  give  a  light  pressure  for  the  grays  and  a  strong 
one  for  the  whites. 

It  is  not  the  greatest  quantity  of  chalk  which  gives  the  best 
drawing  any  more  than  the  greatest  quantity  of  pigment  in  our 


13 


color  work  which  gives  the  best  painting.     Represent  trunk  and 
branches  as  in  No.  13. 

No.  15.  A  bit  of  landscape  indicated  by  a  few  strokes  of 
chalk  often  renders  the  drawing  much  more  pleasing  and  at  the 
same  time  suggests  the  environment  of  the  tree.  The  lines  used 
here  are  those  given  in  No.  1 ,  No.  9  and  No.  1 1 ,  and  are  easily 
represented. 

14 


No.  16.  The  willow  is  another  interesting  tree  for  study 
and  is  drawn  in  a  similar  manner  to  those  previously  mentioned. 
The  stroke  of  the  chalk  for  foliage  is  a  curving  one  rather  than 
horizontal  as  in  the  evergreen  or  vertical  as  in  the  poplar. 

No.  17.  A  suggestion  of  distance  will  frequently  be  found 
a  good  background  for  a  tree,  building  or  other  similar  fore- 


15 


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ground.  The  distance  is  treated  in  exactly  the  same  manner  as 
the  foliage  in  many  of  the  trees,  the  side  of  the  chalk  giving  a 
gray,  uneven  surface.  In  drawing  the  water  represent  the  re- 
flections with  vertical  strokes  and  the  ripples  with  horizontal 
ones. 

No.  18.  Make  the  hillside  with  two  or  three  gray  strokes 
of  No.  1 ,  the  clouds  with  a  similar  curving  stroke,  and  the  trees 
with  charcoal,  using  the  same  treatment  as  in  the  chalk  draw- 
ings. 

16 


No.  19.  Experiment  with  a  few  vegetables,  or  fruit,  using 
the  strokes  which  the  illustrations  will  readily  suggest.  For  the 
grapes  use  a  short  piece  of  chalk  and  a  quick,  curving  stroke, 
the  point  being  used  only  in  accenting. 

No.  20.  The  basket  is  represented  by  using  No.  10, 
Plate  3,  for  the  surface  and  the  point  for  the  details.     Experi- 


17 


ment  a  while  with  the  handle,  begin  at  the  lower  end  at  the  left, 
draw  upward,  to  the  right  and  downward. 

The  tumbler  is  represented  by  using  a  few  gray  vertical 
strokes  of  the  chalk.  Accent  with  chalk  for  high  lights  and  a 
bit  of  charcoal  for  darks. 

In  the  other  objects  on  Plate  8  let  the  surface  of  the  vege- 
table dictate  the  direction  of  the  stroke,  keeping  the  work  as 

18 


simple  as  possible.  See  with  how  few  touches  an  effect  can  be 
obtained.  A  variety  of  illustrations  may  be  attempted,  all  of 
which  have  been  suggested  by  grade  teachers  as  useful  in  many 
lines  of  school  work. 


19 


An  outline  drawing  upon  the  blackboard  expresses  much, 
and  is  often  better  than  any  attempt  at  light  and  shade  or 
variety  in  tone,  yet  there  are  frequent  occasions  when  the  repre- 
sentation of  solidity  or  of  surface  is  better  obtained  in  illus- 
trative work  by  the  use  of  the  side  of  the  chalk  and  charcoal.  In 
such  cases  leave  the  blackboard  for  the  middle  values  and  use 
the  charcoal  and  chalk  as  in  previous  sketches. 

For  instance,  make  a  drawing  of  the  wigwam  and  canoe, 
adding  some  of  the  tree  sketches  upon  which  we  have  previously 
worked  or  simply  indicating  a  few  tree  trunks. 


20 


No.  21.  Make  a  light  sketch  either  with  chalk  or  char- 
coal, indicating  the  general  form  of  the  objects,  or  if  one  has  a 
good  idea  of  form,  he  may  make  the  drawing  without  outlining. 
A  few  oblique  strokes  handled  in  the  same  manner  as  the  gray 
tones  given  in  No.  1  will  produce  the  wigwam.  The  details 
may  be  added  with  chalk  or  charcoal.  A  single  horizontal 
stroke  curving  a  bit  at  either  end  gives  the  general  form  of  the 
canoe.  If  a  few  minor  markings  are  given,  the  children  will 
have  no  doubt  of  your  intent  in  the  sketch.    For  the  tree  trunks 


21 


use  the  stroke  suggested  by  No.  9,  and  for  the  water  consult 
No.  17  and  No.  18,  Plate  7. 

No.  22.  The  woodland  appeals  to  all  children  and  is  fre- 
quently the  topic  in  history,  geography,  botany,  literature,  and 
nature  study  as  well  as  drawing.  A  few  broad,  gray  strokes 
will  give  the  sky.  With  a  cloth,  erase  tree  tops  for  the  distance 
and  a  few  vertical  lines  for  tree  trunks.  Use  the  vertical  strokes 
suggested  in  No.  9  for  the  light  tones  in  the  trees  and  charcoal 
for  the  darks  to  produce  the  cylindrical  effect.  Mass  the  foliage 
as  in  the  trees  previously  drawn  and  add  the  necessary  markings 
for  branches. 

No.  2Z.  A  landscape  with  the  old  house  in  the  foreground 
gives  an  opportunity  to  put  into  practice  many  of  the  previous 
suggestions. 

No.  24.  This  sketch  was  asked  for  as  an  illustration  for 
the  study  of  colonial  history.  In  both  No.  23  and  No.  24  the 
sky  Is  drawn  by  the  use  of  the  horizontal  stroke  and  the  clouds, 
trees,  and  distance  erased  with  a  bit  of  soft  cloth.  The  strokes 
used  in  the  buildings  and  fence  are  evident  and  need  no  inter- 
pretation. 

Plate  No.  12  shows  two  looms  made  by  the  children,  and 
the  beginning  of  the  rugs  they  are  weaving  from  their  own  de- 
signs. The  illustration  is  from  the  blackboard  drawing  made 
by  the  teacher  to  show  how  the  Indians  made  and  used  a  loom. 
This  illustration  has  been  used  in  history,  geography,  and 
manual  training. 

22 


Lessons  in  geography  often  require  quick  illustration.  The 
school  building  may  not  be  well  located  for  this  study,  or  the 
teacher  is  not  fortunate  enough  to  have  a  good  series  of  pictures 
for  the  use  of  his  class.  In  such  cases,  or  in  any  case,  even  when 
he  has  other  material,  blackboard  illustration  will  help  the  chil- 
dren. No.  25,  No.  26,  and  No.  27,  Plate  13,  suggests  useful 
sketches. 

Such  topics  as  the  clouds,  the  mountains,  the  plain,  the  val- 
ley, the  brook,  the  waterfall,  the  beach,  the  ocean,  the  clifF,  and 
innumerable  others  are  easily  and  quickly  illustrated  in  this  man- 
ner. The  teacher  who  in  a  few  moments  can  take  advantage  of 
this  graphic  language  finds  the  lessons  a  delight  to  himself  and 
to  the  class. 

Animal  drawing  is  an  extremely  interesting  lesson  for  the 
children,  at  the  same  time  a  rather  difficult  one  for  many  teach- 
ers. On  Plate  14  will  be  found  a  few  drawings  suggesting  how 
few  lines  will  indicate  the  general  outline  and  how  few  strokes 
of  the  side  of  the  chalk  will  suggest  the  surface. 

There  are  special  days,  seasons,  or  occasions  when  black- 
board drawings  may  be  used  to  advantage  for  illustration. 

Thanksgiving  stories  are  anticipated  by  the  children,  and 
Thanksgiving  pictures  as  well.  These  old,  old  scenes,  ever  new, 
appeal  to  us  all  whether  pupils  or  teachers.  There  are  the  set- 
tlement of  New  England,  the  first  Thanksgiving,  the  harvest 
time,  the  family  gathering,  and  numerous  events  which  suggest 
illustration.  In  many  schools  there  is  the  delightful  custom  of 
remembering  some  unfortunate  family.  The  children  brinj;  to 
the  school  gifts  of  clothing,  groceries,  vegetables,  etc.,  and  assist 
the  teacher  in  packing  these  good  things,  and  great  is  their  joy 
in  giving. 

23 


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Plate  15.  This  drawing  will  answer  as  an  illustration  of 
harvest  time,  or  perhaps  the  gift  itself  to  be  packed  and  sent 
away.  Our  lesson  in  object  drawing  may  be  from  these  or 
similar  objects.  In  this  sketch  a  few  vertical  strokes  give  the 
background   and   box,   similar  curving  strokes  the  barrel,   and 


24 


horizontal  strokes  the  floor.  The  vegetables  are  drawn  by  using 
the  suggestions  found  in  No.  9,  Plate  3.  The  kernels  of  corn 
are  represented  by  the  use  of  a  very  small  piece  of  chalk  and 
stroke  No.  10,  and  the  husks  by  using  No.  5,  No.  6,  and  No.  7, 
Plate  2.  The  details  are  added  with  the  point  of  the  chalk,  and 
charcoal  is  used  in  the  shadows. 


25 


Christmas  time  of  all  seasons  in  the  year  is  the  one  the 
children  most  love,  and  there  are  innumerable  stories  and  Christ- 
mas lessons  for  the  little  ones.  Let  me  give  you  a  few  verses 
I  heard  in  the  first  grade  and  the  illustration  used. 

Christmas-day  was  coming,  Christmas-eve  drew  near; 
Fir-trees  they  were  talking  low,  at  midnight  cold  and  clear, 
And  this  is  what  the  fir-tree  said,  all  in  the  pale  moonlight, 
"Now  which  of  us  shall  chosen  be  to  grace  the  'Holy  Night*?" 

The  tall  trees  and  the  goodly  trees  raised  each  a  lofty  head. 
In  glad  and  secret  confidence,  tho'  not  a  word  they  said. 
But  one,  the  baby  of  the  band,  could  not  restrain  a  sigh : 
"You  all  will  be  approved,"  said  he,   "but  oh,  what  chance 
have  I?" 

"I  am  so  small,  so  very  small,  no  one  will  mark  or  know 
How  thick  and  green  my  needles  are,  how  true  my  branches 

grow ; 
Few  toys  or  candles  could  I  hold,  but  heart  and  will  are  free, 
And  in  my  heart  of  hearts  I  know  I  am  a  Christmas-tree." 

The  children  told  of  the  woodman  who  took  his  axe  and  started 
in  search  of  a  tree  for  his  baby  at  home;  of  the  delight  of  the 
little  tree  at  being  chosen,  and  of  the  joy  of  the  little  daughter 
when  she  saw  it  arrayed  and  holding  her  Christmas  gifts.  The 
accompanying  drawing  will  serve  as  an  illustration  for  this 
story  or  as  a  sketch  of  the  forest  in  winter. 

Plate  16.  In  this  sketch  use  the  strokes  suggested  for  illus- 
trations No.  13,  Plate  5,  and  No.  22,  Plate  10.     Use  the  side 

26 


of  the  chalk,  hardly  touching  the  board  and  keeping  the  draw- 
ing very  gray.  Accent  with  a  strong  pressure  the  parts  repre- 
senting snow. 

This  is  but  one  suggestion.  There  is  the  inevitable  Christ- 
mas tree  with  the  toys  and  gifts,  Santa  Claus  bearing  his  bundle 
of  gifts  or  going  down  the  chimney,  and  the  fireplace  with  the 
stockings,  all  of  which  are  quickly  drawn  in  the  manner  given  in 
previous  sketches. 

Washington's  birthday  brings  to  mind  the  stories  of  his 
life,  and  pictures  may  be  found  illustrating  these  incidents.  One 
or  two  which  all  may  see  and  discuss  will  prove  valuable. 

Plate  17  will  show  a  few  drawings  which  have  been  used 
to  advantage. 

A.  Near  Washington's  Birthplace. 

B.  Mt.  Vernon. 

C.  An  old  Stage  Coach. 

In  these  sketches  the  strokes  used  are  evident. 

Again,  Patriots'  Day  and  Memorial  Day  present  many 
ideas  in  regard  to  blackboard  drawing  and  decoration.  Some 
of  these  illustrations  are  deplorable.  I  well  remember  one 
schoolroom  which  I  visited  and  the  drawings  which  were  upon 
the  boards.  On  one  side  was  a  sketch  of  a  pyramid  of  cannon 
balls,  next,  several  guns  stacked,  then  two  swords  crossed  at 
right  angles.  On  another  side  was  a  cannon,  a  wreath  of  some 
sort  around  the  stenciled  portrait  of  a  dead  hero,  a  tombstone 
with  an  inscription,  and  so  on  about  the  room,  everything  sug- 
gesting war,  misery,  bloodshed,  and  death. 

Can  we  not  find  something  other  than  such  illustrations, 
and  bring  to  the  thought  of  the  children  love  of  home  and 

27 


countrj^,  and  a  reverence  for  those  who  gave  their  lives  for  their 
protection  ? 

I  have  seen  Plate  18  used  in  a  schoolroom  and  feel  sure  it 
performed  its  mission. 


28 


'I  love  thy  t-ocks  aind  ^il(s. 

Thy  woods  and  "templed  hillsk 
My  hcaht  ^ii»)  rapture  thr-ills 

LiKc  ^hat  above 


Plate  19  will  perhaps  suggest  its  use.  In  these  drawings 
the  board  is  slightly  covered  with  either  chalk  or  charcoal.  In 
A  about  ten  strokes  of  the  chalk  and  the  charcoal  outline  finish 
the  drawing  of  the  lantern.     B  is  done  almost  entirely  with 

29 


charcoal,  the  chalk  being  used  only  in  a  few  gray  tones  and  the 
touches  of  light  in  the  distance.  C  is  produced  by  using  the 
chalk  in  horizontal  strokes  and  wiping  out  the  trees  with  a 
cloth.  A  few  touches  of  charcoal  will  give  the  foliage,  and  the 
bridge  is  added  with  simple  strokes  with  the  side  of  the  chalk. 


30 


-If    \  tL 

■■■■ 

,.f; 
^1^ 

^^^                             1 

Plate  20.  This  was  taken  from  a  Kindergarten  room  in 
which  the  children  were  celebrating  Froebel's  birthday.  The 
drawings  upon  this  plate  were  made  by  the  use  of  the  simple 
strokes  given  or  suggested  In  the  plates  shown  in  the  first  part 
of  this  article. 


31 


There  are  other  days  of  local  interest  which  are  celebrated 
in  various  localities  and  the  grade  teacher  will  find  that  the  use 
of  illustrations  will  appeal  to  the  children,  hold  their  interest 
and  impress  upon  them  a  central  thought  in  the  lesson. 

Whether  teaching  drawing  or  some  other  study  in  the 
curriculum,  the  teacher  aims  to  make  his  work  efiEective,  and 
if  he  should  once  try  blackboard  illustration,  he  will  find  it  an 
invaluable  aid  towards  making  clear  or  emphasizing  important 
points. 


<^> 


32 


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